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Cole Porter
Cole Albert Porter (June 9, 1891 - October 15, 1964) was an American songwriter and composer. Life Overview Porter was born to a wealthy family in Indiana. He defied the wishes of his domineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre. After a slow start, he began to achieve success in the 1920s, and by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike many successful Broadway composers, Porter wrote the lyrics, as well as the music, for his songs. After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work. His shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and '30s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It won the first Tony Award for Best Musical. Porter's other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Anything Goes, Can-Can and Silk Stockings. His numerous hit songs include "Night and Day", "Begin the Beguine", "I Get a Kick Out of You", "Well, Did You Evah!", "I've Got You Under My Skin", "My Heart Belongs to Daddy" and "You're the Top". He also composed scores for films from the 1930s to the 1950s, including Born to Dance (1936), which featured the song "You'd Be So Easy to Love"; Rosalie (1937), which featured "In the Still of the Night"; High Society (1956), which included "True Love"; and Les Girls (1957). Youth Porter was born in Peru, Indiana, the only child of a wealthy family.Derbyshire, John. "Oh, the Songs!", National Review Online, July 28, 2004, accessed May 27, 2010 His father, Samuel Fenwick Porter, was a druggist by trade.Shaftel, Matthew. "From Inspiration to Archive: Cole Porter's 'Night and Day'", Journal of Music Theory, Duke University Press, Volume 43, No. 2 (Autumn, 1999), pp. 315–47, accessed March 7, 2011 Porter's father came to Peru, Indiana, from Vevay, Indiana. He eventually owned three drugstores in Peru: see McBrien, p. 8. His mother, Kate, was the indulged daughter of James Omar "J. O." Cole, "the richest man in Indiana", a coal and timber speculator who dominated the family.Porter's great-grandfather, A. A. Cole, had come to Peru, Indiana, in 1834 from Connecticut, as a child. J. O. Cole grew up in Peru but moved west during the Gold Rush of 1849. He made his fortune in California but invested it in Indiana farmland and West Virginia timber, coal, and oil: see McBrien, pp. 4–5. J. O. Cole built the couple a home on his Peru-area property, known as Westleigh Farms.Schwartz, p. 11 After high school, Porter returned to the property only for occasional visits.Schwartz, p. 18 Porter's strong-willed mother doted on him and began his musical training at an early age. He learned the violin at age 6 and the piano at 8, and wrote his first operetta (with help from his mother) at 10. She falsified his recorded birth year, changing it from 1891 to 1893 to make him appear more precocious. His father, who was a shy and unassertive man, played a lesser role in Porter's upbringing, although as an amateur poet, he may have influenced his son's gifts for rhyme and meter. Porter's father also had musical talent as a vocalist and pianist, but the father-son relationship was not close.McBrien, p. 10. student]] J.O. Cole wanted his grandson to become a lawyer,Bell, J. X. "Cole Porter Biography", The Cole Porter Resource Site, accessed March 7, 2011 and with that career in mind, he sent him to Worcester Academy in Massachusetts in 1905. Porter brought an upright piano with him to schoolMcBrien, p. 21 and found that music, and his ability to entertain, made it easy for him to make friends. Porter did well in school and rarely came home to visit.McBrien, p. 26 He became class valedictorian and was rewarded by his grandfather with a tour of France, Switzerland and Germany."The Theater: The Professional Amateur", Time magazine, January 31, 1949 Entering Yale University in 1909, Porter majored in English, minored in music, and also studied French.Kimball (1999), p. 1. He was a member of Scroll and Key and Delta Kappa Epsilon fraternity, and contributed to campus humor magazine The Yale Record.Seuss, p. 10 He was an early member of the Whiffenpoofs a capella singing group and participated in several other music clubs;McBrien, p. 32. in his senior year, he was elected president of the Yale Glee Club and was its principal soloist. Porter wrote 300 songs while at Yale, including student songs such as the football fight songs "Bulldog"Yale Precision Marching Band, "Yale Fight Songs", accessed September 20, 2012. and "Bingo Eli Yale" (aka "Bingo, That's The Lingo!") that are still played at Yale today.Ewen, David. "Cole Porter: The Great Sophisticate", from The Story of America's Musical Theater, New York, Chilton Company, 1961, pp. 134–39 During college, Porter became acquainted with New York City's vibrant nightlife, taking the train to New York City to enjoy dinner, theater, and a night on the town with his classmates, before returning to New Haven, Connecticut, early in the morning. He also wrote musical comedy scores for his fraternity, the Yale Dramat (the Yale dramatic society), and as a student at Harvard – Cora (1911), And the Villain Still Pursued Her (1912), The Pot of Gold (1912), The Kaleidoscope (1913) and Paranoia (1914) – which helped prepare him for a career as a Broadway and Hollywood composer and lyricist. After graduating from Yale, Porter enrolled in Harvard Law School in 1913. He soon felt that he was not destined to be a lawyer, and, at the suggestion of the dean of the law school, Porter switched to Harvard's music faculty, where he studied harmony and counterpoint with Pietro Yon. Kate Porter did not object to this move, but it was kept secret from J. O. Cole. In 1915, Porter's 1st song on Broadway, "Esmeralda", appeared in the revue Hands Up. The quick success was immediately followed by failure: his first Broadway production, in 1916, See America First, a "patriotic comic opera" modeled on Gilbert and Sullivan, with a book by T. Lawrason Riggs, was a flop, closing after 2 weeks.Root, Deane L. and Gerald Bordman. "Porter, Cole (Albert)", Grove Music Online, accessed May 21, 2010 (requires subscription) Porter spent the next year in New York City before going overseas during World War I. Paris and marriage In 1917, when the United States entered World War I, Porter moved to Paris to work with the Duryea Relief organization.Kimball (1992), p. 1.He subsequently enlisted in the First Foreign Regiment, before moving to other regiments prior to his April 1919 discharge: see McBrien, p. 59. Some writers have been skeptical about Porter's claim to have served in the French Foreign Legion, although the Legion itself lists Porter as one of its soldiersFrench Foreign Legion Official web site and displays his portrait at its museum in Aubagne.French Foreign Legion Official web site By some accounts, he served in North Africa and was transferred to the French Officers School at Fontainebleau, teaching gunnery to American soldiers.[http://www.legionofthelost.com/famous.html#9 Legion of the Lost] An obituary notice in The New York Times said that, while in the Legion, "he had a specially constructed portable piano made for him so that he could carry it on his back and entertain the troops in their bivouacs." Another account, given by Porter, is that he joined the recruiting department of the American Aviation Headquarters, but, according to his biographer Stephen Citron, there is no record of his joining this or any other branch of the forces.Citron, p. 48 Porter maintained a luxury apartment in Paris, where he entertained lavishly. His parties were extravagant and scandalous, with "much gay and bisexual activity, Italian nobility, cross-dressing, international musicians and a large surplus of recreational drugs". In 1918, he met Linda Lee Thomas, a rich, Louisville, Kentucky-born divorcée eight years his senior.She divorced newspaper mogul Edward R. Thomas in 1912, receiving than a million dollars in the divorce settlement: see McBrien, p. 65. She was beautiful and well-connected socially; the couple shared mutual interests, including a love of travel, and she became Porter's confidant and companion.McBrien, p. 70 The couple married the following year. She was in no doubt about Porter's homosexuality,Porter had "frequent homosexual encounters" (Citron, p. 142); see also Schwartz, p.114) but it was mutually advantageous for them to marry. For Linda it offered continued social status and a partner who was the antithesis of her abusive first husband.McBrien, p. 65 For Porter, it brought a respectable heterosexual front in an era when homosexuality was not publicly acknowledged. They were, moreover, genuinely devoted to each other and remained married from December 19, 1919, until her death in 1954. Linda remained protective of her social position, and believing that classical music might be a more prestigious outlet than Broadway for her husband's talents, she tried to use her connections to find him suitable teachers, including Igor Stravinsky, but was unsuccessful. Finally, Porter enrolled at the Schola Cantorum in Paris where he studied orchestration and counterpoint with Vincent d'Indy. Meanwhile, Porter's first big hit was the song "Old-Fashioned Garden" from the revue Hitchy-Koo in 1919. In 1920, he contributed the music of several songs to the musical A Night Out."Cole Porter – The Twenties", The Stephen Sondheim Reference Guide, accessed February 28, 2011 in Venice, leased by Porter in the 1920s]] Marriage did not diminish Porter's taste for extravagant luxury. The Porter home on the rue Monsieur near Les Invalides was a palatial house with platinum wallpaper and chairs upholstered in zebra skin."Obituary: Cole Porter is Dead; Songwriter Was 72", The New York Times, October 16, 1964 In 1923, Porter came into an inheritance from his grandfather, and the Porters began living in rented palaces in Venice. He once hired the entire Ballets Russes to entertain his house guests, and for a party at Ca' Rezzonico, which he rented for $4,000 a month ($ }} in current value), he hired 50 gondoliers to act as footmen and had a troupe of tight-rope walkers perform in a blaze of lights. In the midst of this extravagant lifestyle, Porter continued to write songs with encouragement from his wife.Kimball (1992), p. 2 Porter received few commissions for songs in the years immediately after his marriage. He had the occasional number interpolated into other writers' revues in Britain and the U.S. For a C. B. Cochran show in 1921, he had two successes with the comedy numbers "The Blue Boy Blues" and "Olga, Come Back to the Volga".Citron, p. 58 In 1923, in collaboration with Gerald Murphy, he composed a short ballet, originally titled Landed and then Within the Quota, satirically depicting the adventures of an immigrant to America who becomes a film star.Kimball (1991), pp. 4–5 The work, written for the Swedish Ballet company, lasts about 16 minutes. It was orchestrated by Charles Koechlin and shared the same opening night as Milhaud's La création du monde.Kimball (1991), p. 5 Porter's work was one of the earliest symphonic jazz-based compositions, predating George Gershwin's Rhapsody in Blue by four months, and was well received by both French and American reviewers after its premiere at the Théâtre des Champs-Élysées in October 1923.The British classical music journal The Musical Times wrote, "There was plenty of excitement of a certain kind – at least for the more excitable spectators". See "Paris", The Musical Times, December 1923, p. 874 After a successful New York performance the following month, the Swedish Ballet company toured the work in the U.S., performing it 69 times. A year later the company disbanded, and the score was lost until it was reconstructed from Porter's and Koechlin's manuscripts between 1966 and 1990, with help from Milhaud and others.Kimball (1991), p. 6 Porter had less success with his work on Greenwich Village Follies (1924). He wrote most of the original score, but his songs were gradually dropped during the Broadway run, and by the time of the post-Broadway tour in 1925, all his numbers had been deleted.Kimball (1984), p. 85 Frustrated by the public response to most of his work, Porter nearly gave up songwriting as a career, although he continued to compose songs for friends and perform at private parties. Broadway and West End success , star of Porter's Paris]] At the age of 36, Porter reintroduced himself to Broadway in 1928 with the musical Paris, his first hit.Kimball (1999), p. 5 It was commissioned by E. Ray Goetz at the instigation of Goetz's wife and the show's star, Irène Bordoni. She had wanted Rodgers and Hart to write the songs, but they were unavailable, and Porter's agent persuaded Goetz to hire Porter instead.Citron, p. 73 In August 1928, Porter's work on the show was interrupted by the death of his father. He hurried back to Indiana to comfort his mother before returning to work. The songs for the show included "Let's Misbehave" and one of his best-known list songs, "Let's Do It", which was introduced by Bordoni and Arthur Margetson.Kimball (1984), pp. 101 and 104 The show opened on Broadway on October 8, 1928. The Porters did not attend the 1st night because Porter was in Paris supervising another show for which he had been commissioned, La Revue, at a nightclub.Citron, pp. 74 and 79 This was also a success, and, in Citron's phrase, Porter was finally "accepted into the upper echelon of Broadway songwriters".Citron, p. 78 Cochran now wanted more from Porter than isolated extra songs; he planned a West End extravaganza similar to Ziegfeld's shows, with a Porter score and a large international cast led by Jessie Matthews, Sonnie Hale and Tilly Losch. The revue, Wake Up and Dream, ran for 263 performances in London, after which Cochran transferred it to New York in 1929. On Broadway, business was badly affected by the 1929 Wall Street crash,The Porters were not greatly affected by the crash, having their assets in safe investments and held in a number of foreign banks, which remained solvent: see Citron, p. 85 and the production ran for only 136 performances. From Porter's point of view, it was nonetheless a success, as his song "What is This Thing Called Love?" became immensely popular.Citron, pp 80–82 Porter's new fame brought him offers from Hollywood, but as his score for Paramount's The Battle of Paris was undistinguished, and its star, Gertrude Lawrence, was miscast, the film was not a success.Citron, pp. 82–83 Citron expresses the view that Porter was not interested in cinema and "noticeably wrote down for the movies."Citron, p. 83 Still on a Gallic theme, Porter's last Broadway show of the 1920s was Fifty Million Frenchmen (1929), for which he wrote 28 numbers, including "You Do Something to Me", "You've Got That Thing" and "The Tale of the Oyster".Kimball (1984), pp. 117–29 The show received mixed notices. One critic wrote, "the lyrics alone are enough to drive anyone but P.G. Wodehouse into retirement", but others dismissed the songs as "pleasant" and "not an outstanding hit song in the show". As it was a lavish and expensive production, nothing less than full houses would suffice, and after only three weeks the producers announced that they would close it. Irving Berlin, who was an admirer and champion of Porter, took out a paid press advertisement calling the show "The best musical comedy I've heard in years.... One of the best collections of song numbers I have ever listened to". This saved the show, which ran for 254 performances, considered a successful run at the time.Citron, p. 84 1930s Ray Goetz, producer of Paris and Fifty Million Frenchmen, whose success had kept him solvent when other producers were bankrupted by the post-crash slump in Broadway business, invited Porter to write a musical show about the other city that he knew and loved: New York. Goetz offered the team with whom Porter had last worked, Herbert Fields writing the book and Porter's old friend Monty Woolley directing.Citron, p. 100 The New Yorkers (1930) acquired instant notoriety for including a song about a streetwalker, "Love for Sale". Originally performed by Kathryn Crawford in a street setting, critical disapproval led Goetz to reassign the number to Elizabeth Welch in a nightclub scene. The lyric was considered too explicit for radio at the time, though it was recorded and aired as an instrumental and rapidly became a standard.Citron, p. 101 Porter often referred to it as his favorite of his songs.Kimball (1984), p. 145 The New Yorkers also included the hit "I Happen to Like New York".Kimball (1984), p. 147 starred in Porter's The New Yorkers and Nymph Errant.]] Next came Fred Astaire's last stage show, Gay Divorce (1932). It featured a hit that became Porter's best-known song, "Night and Day".In 1999, Matthew Shaftel wrote, "Less than two months after the show's opening ... the song was featured on two best-selling recordings and was at the top of sheet music sales. Since then, 83 artists have registered with the ASCAP ... to legally perform and record "Night and Day." Even today, more than 65 years after its composition, the song earns a stunning six figures, making it Warner Brothers' "crown jewel," and placing it on ASCAP's list of top money-earners of all time." Shaftel, Matthew. "From Inspiration to Archive: Cole Porter's 'Night and Day'," Journal of Music Theory, Vol. 43, No. 2 (Autumn, 1999), pp. 315–47, accessed March 8, 2011 Despite mixed press (some critics were reluctant to accept Astaire without his previous partner, his sister Adele), the show ran for a profitable 248 performances, and the film rights were sold to RKO Pictures.Citron, p. 105. The film version, starring Astaire and Ginger Rogers dropped all of Porter's score except "Night and Day". Porter followed this with a West End show for Gertrude Lawrence, Nymph Errant (1933), presented by Cochran at the Adelphi Theatre, where it ran for 154 performances. Among the hit songs Porter composed for the show were "Experiment" and "The Physician" for Lawrence, and "Solomon" for Elizabeth Welch.Kimball (1984), pp. 158–62 In 1934, producer Vinton Freedley came up with a new approach to producing musicals. Instead of commissioning book, music and lyrics and then casting the show, Freedley sought to create an ideal musical with stars and writers all engaged from the outset.Citron, p. 108 The stars he wanted were Ethel Merman, William Gaxton and comedian Victor Moore. He planned a story about a shipwreck and a desert island, and for the book he turned to P.G. Wodehouse and Guy Bolton. For the songs, he decided on Porter. By telling each of these that he had already signed the others, Freedley gathered his ideal team together.Freedley told Bolton and Wodehouse that he had secured Merman, then contacted Gaxton, Moore, and finally Merman: see Citron, p. 109. A drastic last-minute rewrite was necessitated by a major shipping accident, which dominated the news and made Bolton and Wodehouse's book seem tasteless.Bolton and Wodehouse were by then engaged in other work, and Howard Lindsay and Russel Crouse rewrote the book almost completely: see Citron, p. 110In 1934, the S.S. Morro Castle caught fire off the New Jersey shore, killing more than a hundred people: see Kimball (1992), p. 70, and McBrien, p. 164. Nevertheless, the show, Anything Goes, was an immediate hit. Porter wrote what is thought by many to be his greatest score of this period. The New Yorker magazine said, "Mr. Porter is in class by himself",Citron, p. 110 and Porter himself subsequently called it one of his two perfect shows, along with the later Kiss Me, Kate. Its songs include "I Get a Kick out of You", "All Through the Night", "You're the Top" (one of his best-known list songs), and "Blow, Gabriel, Blow", as well as the title number.Kimball (1984), pp. 167–76 The show ran for 420 performances in New York (a particularly long run in the 1930s) and 261 in London.Citron, p. 111 Porter, despite his lessons in orchestration from d'Indy, did not orchestrate his musicals. Anything Goes was orchestrated by Robert Russell Bennett and Hans Spialek.McGlinn, John (1989), "The Original Anything Goes: A Classic Restored", Notes to EMI CD CDC 7 49848 2. Other Porter shows were orchestrated by Maurice B. DePackh, Walter Paul, Don Walker and Philip J. Lang: see Kimball (1991) pp. 2–3. Porter, however, would check the orchestral parts and amend them as he felt necessary. (Shaftel, Matthew. "From Inspiration to Archive: Cole Porter's 'Night and Day'," Journal of Music Theory, Vol. 43, No. 2 (Autumn, 1999), pp. 315–47, accessed March 8, 2011 ) Now at the height of his success, Porter was able to enjoy the opening night of his musicals; he would make a grand entrance and sit in front, apparently relishing the show as much as any audience member. Russel Crouse commented, "Cole's opening-night behaviour is as indecent as that of a bridegroom who has a good time at his own wedding." Anything Goes was the 1st of 5 Porter shows featuring Merman. He loved her loud, brassy voice and wrote many numbers that featured her strengths.Citron, p. 141 Jubilee (1935), written with Moss Hart while on a cruise around the world, was not a major hit, running for only 169 performances, but it featured two songs that have since become standards, "Begin the Beguine" and "Just One of Those Things".Kimball (1984), pp. 183–96 Red Hot And Blue (1936), featuring Merman, Jimmy Durante and Bob Hope, ran for 183 performances and introduced "It's De-Lovely", "Down in the Depths (on the Ninetieth Floor)", and "Ridin' High".Kimball (1984), pp. 205–16 The relative failure of these shows convinced Porter that his songs did not appeal to a broad enough audience. In an interview he said, "Sophisticated allusions are good for about six weeks ... more fun, but only for myself and about eighteen other people, all of whom are first-nighters anyway. Polished, urbane and adult playwriting in the musical field is strictly a creative luxury."Kimball (1984), p. 205. Porter also wrote for Hollywood in the mid-1930s. His scores include those for the Metro-Goldwyn-Mayer films Born to Dance (1936), with James Stewart, featuring "You'd Be So Easy to Love" and "I've Got You Under My Skin", and Rosalie (1937), featuring "In the Still of the Night".Kimball (1992), p. 9 He wrote the score of the short film Paree, Paree, in 1935, using some of the songs from Fifty Million Frenchmen.[http://www.sondheimguide.com/porter/paree.html Paree, Paree], SoundheimGuide, accessed February 13, 2013 Porter also composed the cowboy song "Don't Fence Me In" for Adios, Argentina, an unproduced movie, in 1934, but it did not become a hit until Roy Rogers sang it in the 1944 film Hollywood Canteen.Kimball (1992), p. 7 Bing Crosby, The Andrews Sisters, and other artists also popularized it in the 1940s. The Porters moved to Hollywood in December 1935, but Porter's wife did not like the movie environment, and Porter's homosexual peccadillos, formerly very discreet, became less so; she retreated to their Paris house.Citron, p. 143McBrien, pp. 189, 193, 206 and 209 When his film assignment on Rosalie was finished in 1937, Porter hastened to Paris to make his peace with Linda, but she remained cool. After a walking tour of Europe with his friends, Porter returned to New York in October 1937 without her.McBrien, p. 209. They were soon reunited by an accident suffered by Porter.Citron, p. 144 On October 24, 1937, Porter was riding with Countess Edith di Zoppola and Duke Fulco di Verdura at Piping Rock Club in Locust Valley, New York, when his horse rolled on him and crushed his legs, leaving him substantially crippled and in constant pain for the rest of his life. Though doctors told Porter's wife and mother that his right leg would have to be amputated, and possibly the left one as well, he refused to have the procedure. Linda rushed from Paris to be with him, and supported him in his refusal of amputation.Citron, p. 145 He remained in the hospital for seven months and was then allowed to go home to his apartment at the Waldorf Towers.Linda, appraising the deteriorating political outlook in Europe, closed the Paris house in April 1939: see Citron, p. 168 He resumed work as soon as he could, finding it took his mind off his perpetual pain.Citron, p. 162 Porter's first show after his accident was not a success. You Never Know (1938), starring Clifton Webb, Lupe Vélez and Libby Holman, ran for only 78 performances.Kimball (1984), p. 225 The score included the songs, "From Alpha to Omega" and "At Long Last Love".Kimball (1984), pp. 227 and 229 He returned to success with Leave It to Me! (1938); the show introduced Mary Martin, singing "My Heart Belongs to Daddy", and other numbers included "Most Gentlemen Don't Like Love" and "From Now On".Kimball (1984), pp. 241 and 243 Porter's last show of the 1930s was DuBarry Was a Lady (1939), a particularly risqué show, starring Merman and Bert Lahr.Citron, p. 184 After a pre-Broadway tour, during which it ran into trouble with the Boston censors,Kimball (1984), p. 260 it ran for 408 performances, beginning at the 46th Street Theatre.Kimball (1984), p. 256 The score included "But in the Morning, No" (which was banned from the airwaves), "Do I Love You?", "Well, Did You Evah!", "Katie Went to Haiti" and another of Porter's up-tempo list songs, "Friendship".Kimball (1984), pp. 259–67 At the end of 1939, Porter contributed six songs to the film Broadway Melody of 1940 for Fred Astaire, George Murphy and Eleanor Powell.Kimball (1984), pp. 252–54 Meanwhile, as political unrest increased in Europe, Porter's wife closed their Paris house in 1939, and the following year, purchased a country home in the Berkshire mountains, near Williamstown, Massachusetts, which she decorated with elegant furnishings from their Paris home. Porter spent time in Hollywood, New York and their home in Williamstown.McBrien, p. 225 1940s and postwar in You'll Never Get Rich]] Panama Hattie (1940) was Porter's longest-running hit so far, running in New York for 501 performances, despite the absence of any enduring Porter songs.Citron, p. 185 It starred Merman, with Arthur Treacher and Betty Hutton. Let's Face It! (1941), starring Danny Kaye, had an even better run, with 547 performances in New York.Kimball (1984), p. 299 This, too, lacked any numbers that became standards, and Porter always counted it among his lesser efforts.Citron, p. 189 Something for the Boys (1943), starring Merman, ran for 422 performances, and Mexican Hayride (1944), starring Bobby Clark, with June Havoc, ran for 481 performances.Kimball (1984), pp. 320 and 343 These shows, too, are short of Porter standards. The critics did not pull their punches; they complained about the lack of hit tunes and the generally low standard of Porter's scores.Citron, p. 190 After two flops, Seven Lively Arts (1944) (which featured the standard "Ev'ry Time We Say Goodbye") and Around the World (1946), many thought that Porter's best period was over.Citron, p. 193 Between Broadway musicals, Porter continued to write for Hollywood. His film scores of this period were You'll Never Get Rich (1941) with Astaire and Rita Hayworth, Something to Shout About (1943) with Don Ameche, Janet Blair and William Gaxton, and Mississippi Belle (1943–44), which was abandoned before filming began.Kimball (1984), pp. 295, 313 and 335 He also cooperated in the making of the film Night and Day (1946), a largely fictional biography of Porter, with Cary Grant implausibly cast in the lead. The critics scoffed, but the film was a huge success, chiefly because of the wealth of vintage Porter numbers in it.Citron, pp. 211–14 The success of the biopic contrasted severely with the failure of Vincente Minnelli's film The Pirate (1948), with Judy Garland and Gene Kelly,Kimball (1992), p. 13–15 in which five new Porter songs received little attention.Citron, p. 215 in early 1954]] From this low spot, Porter made a conspicuous comeback, in 1948, with Kiss Me, Kate. It was by far his most successful show, running for 1,077 performances in New York and 400 in London.Citron, p. 419 The production won the Tony Award for best musical (the first Tony awarded in that category), and Porter won for best composer and lyricist. The score includes "Another Op'nin', Another Show", "Wunderbar", "So In Love", "We Open in Venice", "Tom, Dick or Harry", "I've Come to Wive It Wealthily in Padua", "Too Darn Hot", "Always True to You (in My Fashion)", and "Brush Up Your Shakespeare".Kimball (1984), pp. 387–99 Porter began the 1950s with Out Of This World (1950), which had some good numbers but too much camp and vulgarity,Citron, p. 220 and was not greatly successful. His next show, Can-Can (1952), featuring "C'est Magnifique" and "It's All Right with Me", was another hit, running for 892 performances.Kimball (1984), p. 422 Porter's last original Broadway production, Silk Stockings (1955), featuring "All of You", was also successful, with a run of 477 performances.Kimball (1984), p. 438 Porter wrote two more film scores and music for a television special before ending his Hollywood career. The film High Society (1956), starring Bing Crosby, Frank Sinatra and Grace Kelly, included Porter's last major hit song, "True Love". The film was later adapted as a stage musical of the same name. Porter also wrote numbers for the film Les Girls (1957), which starred Gene Kelly. His final score was for a CBS television color special, Aladdin (1958).Kimball (1984), p. 468 Last years Porter's mother died in 1952, and his wife died from emphysema in 1954.Citron, pp. 239 and 242 By 1958, Porter's injuries caused a series of ulcers on his right leg. After 34 operations, it had to be amputated and replaced with an artificial limb.Citron, p. 249 His friend Noël Coward visited him in the hospital and wrote in his diary, "The lines of ceaseless pain have been wiped from his face.... I am convinced that his whole life will cheer up and that his work will profit accordingly."Coward, p. 379 In fact, Porter never wrote another song after the amputation and spent the remaining six years of his life in relative seclusion, seeing only intimate friends. He continued to live in the Waldorf Towers in New York in his memorabilia-filled apartment. On weekends he often visited an estate in the Berkshires, and he stayed in California during the summers. Porter died of kidney failure on October 15, 1964, in Santa Monica, California, at the age of 73. He is interred in Mount Hope Cemetery in his native Peru, Indiana, between his wife and father.Schwartz, p. 269 Recognition Many artists have recorded Porter songs, and dozens have released entire albums of his songs.List of Cole Porter collections at Sondheimguide.com, accessed June 9, 2011 In 1956 American jazz singer Ella Fitzgerald released Ella Fitzgerald Sings the Cole Porter Songbook. In 1972 she released another collection, Ella Loves Cole. Among the many album collections of Porter songs are the following: Oscar Peterson Plays the Cole Porter Songbook (1959); Anita O'Day Swings Cole Porter with Billy May (1959); All Through the Night: Julie London Sings the Choicest of Cole Porter (1965); Rosemary Clooney Sings the Music of Cole Porter (1982); and Anything Goes: Stephane Grappelli & Yo-Yo Ma Play (Mostly) Cole Porter (1989). In 1990 Dionne Warwick released Dionne Sings Cole Porter.Discogs.com, accessed February 22, 2012. In that same year, Red Hot + Blue was released as a benefit CD for AIDS research and featured 20 Cole Porter songs recorded by artists such as U2, Annie Lennox, and Shane MacGowan.Discogs.com, accessed February 22, 2012. Additional recording collections include Frank Sinatra Sings the Select Cole Porter (1996)Sondheim Guide, accessed February 22, 2012. and John Barrowman Swings Cole Porter (2004; Barrowman played "Jack" in the 2004 film De-Lovely.Sondheim Guide, accessed February 22, 2012. Other singers who have paid tribute to Porter include the Swedish pop music group Gyllene Tider, which recorded a song called "Flickan i en Cole Porter-sång" ("That Girl from the Cole Porter Song") in 1982. He is referenced in the merengue song "The Call of the Wild" by David Byrne on his 1989 album Rei Momo. He is also mentioned in the song "Tonite It Shows" by Mercury Rev on their 1998 album Deserter's Songs. In 1965, Judy Garland performed a medley of Porter's songs at the 37th Academy Awards shortly after Porter's death. , accessed September 19, 2012 In 1980, Porter's music was used for the score of Happy New Year, based on the Philip Barry play Holiday. The cast of the The Carol Burnett Show paid a tribute to Porter in a humorous sketch in their CBS television series.Youtube.com , accessed September 20, 2012. "You're the Top: The Cole Porter Story", a video of archival material and interviews, and "Red, Hot and "Blue", a video of artists performing Porter's music, were released in 1990 to celebrate the one hundredth anniversary of Porter's birth.Howard Reich, "Porter Tributes: A Few Highlights", Chicago Tribune", May 5, 1991, accessed September 20, 2012. In contrast to the highly embellished 1946 screen biography Night and Day,Classicfilmguide.com, accessed February 27, 2012. Porter's life was chronicled more realistically in De-Lovely, a 2004 Irwin Winkler film starring Kevin Kline as Porter and Ashley Judd as Linda.Johnston, Sheila. "How Cole Porter got his kicks?" All About Jewish Theatre (2004), accessed May 27, 2010 The soundtrack to De-Lovely includes Porter songs sung by Alanis Morissette, Sheryl Crow, Elvis Costello, Diana Krall and Natalie Cole, among others.Phares, Heather. [http://www.allmusic.com/album/de-lovely-mw0000474795 "Original Soundtrack" De-Lovely"], Allmusic, accessed April 30, 2014 Porter also appears as a character in Woody Allen's 2011 film Midnight in Paris."The Better Life", The New Yorker, May 23, 2011 Many events commemorated the centenary of Porter's birth, including the halftime show of the 1991 Orange Bowl.Kimball, Robert. "Cole Porter, College Man", Yale Alumni Magazine, November 1992, accessed May 17, 2012Holland, Bernard. "A Hoosier Hurrah on Cole Porter's Centennial", The New York Times, June 9, 1991, accessed May 17, 2012 Joel Grey and a large cast of singers, dancers and marching bands, performed a tribute to Porter in Miami, Florida, during the 57th King Orange Jamboree parade, whose theme was "Anything Goes".TCM Turner Classic Movies, "1990 King Orange Jamboree Parade", Turner Entertainment Networks, December 31, 1990, accessed September 20, 2012.Luisa Yanez, "500,000 At Parade Ooh, Aah King Orange Reigns Under Miami Moon", Sun-Sentinel, January 1, 1991, retrieved September 20, 2012. The Indianapolis Symphony Orchestra performed a program of Cole Porter music at the Circle Theatre in Indianapolis, which also featured clips of Porter's Hollywood films. "A Gala Birthday Concert" was held at New York City's Carnegie Hall, with more than 40 entertainers and friends paying tribute to Porter's long career in theater and film. In addition, the U.S. Postal Service issued a commemorative postage stamp honoring Porter's birth.Randolph E. Schmid, "Basketball, Early Warren and Cole Porter Set for 1991 Stamps", Associated Press, Essential New Archives, accessed September 20, 2012. The Indiana University Opera performed Porter's musical, "Jubilee", in Bloomington, Indiana.Clair McPhail, "Year-long celebration to honor Cole Porter", The News Courier/The Evening Post, Charleston, South Carolina, August 12, 1990, retrieved September 20, 2012. In May 2007, a star on the Hollywood Walk of Fame was dedicated to Cole Porter.Associated Press "Hollywood star for Cole Porter", USA Today, May 21, 2007, retrieved September 20, 2012. In December 2010, his portrait was added to the Hoosier Heritage Gallery in the office of the Governor of Indiana. , accessed February 21, 2012. Numerous symphony orchestras have paid tribute to Porter in the years since his death"NSO at Wolf Trap: 'A Cole Porter Celebration' ", The John F. Kennedy Center for the Performing Arts, retrieved September 20, 2012."Faith Middleton Show: A Tribute to Cole Porter and Glen Miller", "The Faith Middleton Show", Connecticut Public Broadcasting, November 22, 2010, accessed September 20, 2012. including Seattle Symphony Orchestra, with Marvin Hamlisch as conductor"A Tribute to Cole Porter", Seattle Symphony Orchestra, accessed September 20, 2012 and the Boston Pops, both in 2011.Meland, Manny. "Boston Pops in A Tribute to Cole Porter with Conductor Keith Lockhart", Miamiartzine, March 7, 2011, retrieved September 20, 2012.In 2012, the Boston Pops presented another tribute to Porter. See "Boston Pops Presents Tribute to Cole Porter on June 5–6", MassJazz blog, accessed September 20, 2012. In 2012, Marvin Hamlisch, Michael Feinstein, and the Dallas Symphony Orchestra honored Porter with a concert that included his familiar classics."DSO Pops Series: Cole Porter Tribute with Michael Feinstein and Marvin Hamlisch", Last.fm, accessed September 20, 2012. The Cole Porter Festival is held every year in June in his hometown of Peru, Indiana, to foster music and art appreciation.Cole Porter Festival, accessed September 20, 2012. Costumed singers in the cabaret-style Cole Porter Room at the Indiana Historical Society's Eugene and Marilyn Glick Indiana History Center in Indianapolis take requests from visitors and perform Porter's hit songs.The setting is designed to evoke the Waldorf Astoria New York, where Porter once lived. See Porter's Steinway piano is in the lobby of the Waldorf-Astoria Hotel in New York City.Hotels.about.com, "Cole Porter Piano", accessed September 20, 2012.Martinez, Jose. "Cole Porter's apartment at the Waldorf-Astoria can be yours for $140K a month", New York Daily News, July 20, 2010, accessed May 16, 2014 Porter is a member of the American Theater Hall of Fame."Members", Theater Hall of Fame, accessed October 14, 2014 In 2014 Porter was honored with a plaque on the Legacy Walk in Chicago, which celebrates LGBT achievers."Legacy Walk honors LGBT 'guardian angels'", Chicago Tribune, October 12, 2014 Reynolds, Daniel. "7 LGBT Heroes Honored With Plaques in Chicago's Legacy Walk", Advocate.com, October 11, 2014 Notable songs Shows listed are stage musicals unless otherwise noted. Where the show was later made into a film, the year refers to the stage version. A complete list of Porter's works is in the Library of Congress (see also the Cole Porter Collection).All of the songs below (except for "Come to the Supermarket", which is listed in this compilation), are included in one or more of the compilations of Porter songs listed at "A Cole Porter Bibliography" on Soundheimguide.com, accessed March 10, 2011 * (1916) See America First * (1919) Hitchy-Koo of 1919 – "Old-Fashioned Garden" * (1928) Paris – "Let's Do It, Let's Fall in Love" * (1929) Wake Up and Dream – "What Is This Thing Called Love?" * (1929) Fifty Million Frenchmen – "You Do Something to Me" * (1930) The New Yorkers – "Love for Sale", "I Happen to Like New York", "Where Have You Been?" * (1932) Gay Divorce – "After You, Who?", "Night and Day" (adapted as The Gay Divorcee, 1934) * (1933) Nymph Errant – "Experiment", "The Physician", "It's Bad for Me" * (1934) Anything Goes – "All Through the Night", "Anything Goes", "Blow Gabriel, Blow", "I Get a Kick Out of You", "You're the Top" * (1934) Adios Argentina (un-produced film) – "Don't Fence Me In" * (1935) Jubilee – "Begin the Beguine", "Just One of Those Things" * (1936) Red, Hot and Blue – "Down in the Depths (on the Ninetieth Floor)", "It's De-Lovely" * (1936) Born to Dance (film) – "You'd Be So Easy to Love", "I've Got You Under My Skin" * (1937) Rosalie (film) – "In the Still of the Night" * (1937) You Never Know – "At Long Last Love", "From Alpha to Omega", "Let's Misbehave" * (1938) Leave It to Me! – "From Now On", "Get Out of Town", "My Heart Belongs to Daddy" * (1939) Broadway Melody of 1940 – "Between You and Me", "I Concentrate on You", "I've Got My Eyes on You", "I Happen to Be in Love", "Begin the Beguine" * (1939) Dubarry Was A Lady – "But in the Morning No", "Do I Love You?", "Well, Did You Evah!", "Friendship" * (1940) Panama Hattie – "I've Still Got My Health", "Let's Be Buddies" *(1941) You'll Never Get Rich (film) – "Dream Dancing", "So Near and Yet So Far" * (1941) Let's Face It! – "I Hate You, Darling" * (1942) Something for the Boys – "Could It Be You" * (1942) Something to Shout About – "You'd Be So Nice to Come Home To" * (1943) Mexican Hayride – "I Love You" * (1944) Seven Lively Arts – "Ev'ry Time We Say Goodbye" * (1946) Around the World – "Look What I Found" * (1947) The Pirate (film) – "Be a Clown", "Mack the Black", "You Can Do No Wrong" * (1948) Kiss Me, Kate – "Another Op'nin', Another Show", "Brush Up Your Shakespeare", "I Hate Men", "So in Love", "Tom, Dick or Harry", "Too Darn Hot"', "Wunderbar" * (1950) Out of This World – "From This Moment On", "I Am Loved" * (1950) Stage Fright (film) – "The Laziest Gal in Town" * (1953) Can-Can – "I Am in Love", "I Love Paris", "C'est Magnifique", "It's All Right With Me" * (1954) Silk Stockings – "All of You", "Paris Loves Lovers" * (1955) High Society (film) – "Mind if I Make Love to You?", "True Love", "Who Wants to Be a Millionaire?", "You're Sensational" * (1956) Les Girls – "Ça, C'est L'amour", "You're Just Too, Too" * (1958) Aladdin (television) – "Come to the Supermarket (In Old Peking)" A more comprehensive list of Cole Porter songs, along with their date of composition and original show, is available online at the "Cole Porter Songlist Page"."Cole Porter Songlist Page". Accessed May 27, 2010 See also *List of English-language songwriters References * * * * * * * * * Notes External links ;Lyrics *Cole Porter at LyricWikia *Cole Porter lyrics at Lyricsfreak ;Audio / video *Cole Porter audio clips *Cole Porter songs at YouTube ;About *Cole Porter in the Encyclopædia Britannica *Cole Porter at Biography.com *Cole Porter at Songwriters Hall of Fame * * * *Cole Wide Web Official Cole Porter website. * Cole Porter discography at Discogs ;Etc. * Cole Porter Birthplace & Museum * Cole Porter Festival *The Cole Porter Collection at Irving S. Gilmore Music Library, Yale University Category:1891 births Category:1964 deaths Category:American amputees Category:American film score composers Category:American musical theatre composers Category:American musical theatre lyricists Category:Deaths from renal failure Category:Gay musicians Category:Grammy Award winners Category:Harvard University alumni Category:LGBT composers Category:LGBT musicians from the United States Category:Musicians from Indiana Category:People from Peru, Indiana Category:Schola Cantorum de Paris alumni Category:Soldiers of the French Foreign Legion Category:Songwriters from Indiana Category:Songwriters Hall of Fame inductees Category:Worcester Academy alumni Category:Yale University alumni Category:American Theater Hall of Fame inductees Category:Pupils of Vincent d'Indy Category:20th-century American musicians Category:Songwriters Category:American songwriters